• Aboriginals in North America
  • Beast Literature
  • Canadiana.1
  • Dances & Music
  • Europe: Ukraine & Russia
  • Fables and Fairy Tales
  • Fables by Jean de La Fontaine
  • Feasts & Liturgy
  • Great Books Online
  • La Princesse de Clèves
  • Middle East
  • Molière
  • Nominations
  • Posts on Love Celebrated
  • Posts on the United States
  • The Art and Music of Russia
  • The French Revolution & Napoleon Bonaparte
  • Voyageurs Posts
  • Canadiana.2

Micheline's Blog

~ Art, music, books, history & current events

Micheline's Blog

Monthly Archives: December 2013

Krieghoff: Winter, “Habitants” & Amerindians

30 Monday Dec 2013

Posted by michelinewalker in Art, Canadian History, Métis

≈ 10 Comments

Tags

Canada, Canadian art, Cornelius Krieghoff, List of Canadian artists, Michel Martin Drolling, Paint, Quebec, Wikipedia

 
The Habitant Farm, by Cornelius Krieghoff

The Habitant Farm, by Cornelius Krieghoff, 1856 (National Gallery of Canada)

Post Stamp

Cornelius Krieghoff 1815 – 1872 issued on 29 November 1972 Canadian Postal Archives

Painting Canada’s Winter

Cornelius Krieghoff (19 June 1815 – 8 April 1872), was born in Amsterdam, but is usually described as a “Canadian painter.”

For instance, on 29 November 1972, when a Canadian post stamp was issued to commemorate artist Cornelius Krieghoff, Charles C. Hill, the then Curator of Canadian Art at the Canadian National Gallery (Ottawa), stated that:

 Krieghoff was the first Canadian artist to interpret in oils… the splendour of our waterfalls, and the hardships and daily life of people living on the edge of new frontiers.  (See Cornelius Krieghoff, Wikipedia.)

Although born in the Netherlands, Krieghoff, married Louise Gauthier a French-Canadian woman who worked in New York.  He spent several years in the province of Quebec, Canada, and his subject-matter is largely Canadian, which may explain his being considered a Canadian painter.

He painted landscapes, “habitants,” portraits, animals and Amerindians (Native Americans) living in Quebec.  Some of his paintings of habitants are genre paintings. Krieghoff was mostly a genre artist.  In the mid 1840, he befriended Mohawks, (living in the Kahnawake Mohawk Territory, near Montreal).  In this respect, i.e. subject-matter and venue, Krieghoff is a ‘Canadian painter,’ best known for his winter landscapes.

The Blizzard, by Cornelius Krieghoff, 1857 National Gallery of Canada

The Blizzard, by Cornelius Krieghoff, 1857 (National Gallery of Canada)

The Toll Gate, by Cornelius Krieghoff, 1861 The National Gallery of Canada

The Toll Gate, by Cornelius Krieghoff, 1859
(Photo credit: Wikimedia)

Training: Europe

However, Krieghoff was trained in Europe.  He was introduced to painting by his father, but as of c. 1830, he studied art the Academy of Fine Arts in Germany.  Krieghoff returned to Europe on three occasions.  Between 1844 and 1846, he copied masterpieces of the Louvre as a student of Michel Martin Drolling (7 March 1789 – 9 January 1851).  Drolling was a  neoclassic French portraitist and painter of history.  Consequently he was an academicist, one of the painters whose artworks could be exhibited at the biannual Paris Salon, then the most important exhibition in the world. Krieghoff also travelled to Europe in 1854, “visiting Germany and Italy,” and lived in Europe from 1863 to 1868.  (See Cornelius Krieghoff, Wikipedia.)

Cornelius Krieghoof in North America

In 1836, aged 22, Krieghoff moved to New York and joined the US armed forces. He made sketches of the second Seminole War, which he later transformed into oil paintings.  The Seminole Wars (1816 – 1858) will not be discussed in this post.

On “Habitants”

Until the abolition of the Seigneurial System, in 1854, which occurred eleven years before the abolition of slavery in the United States, an “habitant” was a French Canadian living on the thirty acres of land allotted him by his Seigneur.  Nouvelle-France had been divided into Seigneuries.[i]  The “habitant” was not a slave, but his duties included the corvée, “a day’s unpaid labor owed by a vassal to his feudal lord.”  The corvée seigneuriale is sometimes considered a form of taxation.  The meaning of the word corvée is “chore.”  As for the word “habitant”  (inhabitants), it has acquired a pejorative connotation, that of “uncouth.”  Be that as it may, Krieghoff revelled in painting habitants (literally, “inhabitants”).  (See Corvée seigneuriale (FR), Wikipedia.)[ii]

French Canadians Playing at Cards, by Cornelius Krieghoff

French Canadian Habitants Playing at Cards, by Cornelius Krieghoff, 1858 (National Gallery of Canada)
Habitants, by Cornelius Krieghoff, 1852 (Photo credit: Wikipedia)

Habitants, by Cornelius Krieghoff, 1852 (Photo credit: Wikipedia)

Amerindians

Cornelius Krieghoff’s depiction of Amerindians, or Native Americans, is a precious legacy.  These images linger in the memory of those who have had the privilege of seeing them.  As you may know, the first French settlers often married Amerindian women.  There were very few women in New France in the first half of the 17th century.  The Filles du Roi (FR), or King’s Daughters, did not start arriving in New France until 1663.  During the Seminole Wars, the 2nd, Krieghoff had also met Amerindians, but not those he painted.

The French-Canadian voyageurs also created a Métis population.  Those who wintered at fur-trading posts signed a three-year contract.  Many married Amerindian women and it could well be that some had two wives.  The most famous among these Métis is Louis Riel (22 October 1844 – 16 November 1885), a Canadian politician, the Father of Manitoba and one of the Fathers of Confederation.

However, Krieghoff’s Amerindians inhabited Quebec.  I have chosen a video that shows depictions of Amerindians by Cornelius Krieghoff.  We therefore have pictures.

Mosassin Seller Crossing the  St. Lawrence at Quebec City, by Cornelius Krieghoff, 1853 - 1863 (Canadian National Gallery)

Mocassin Seller Crossing the
St. Lawrence at Quebec City, by Cornelius Krieghoff, 1853 – 1863 (National Canadian Gallery)

Huron Wendat Hunter calling a Moose

Huron Wendat Hunter calling a moose, 1868 (Photo credit: Wikipedia)

Conclusion

Cornelius Krieghoff died in Chicago, where he had retired, on March 8, 1872, at the age of 56.  He was buried in Chicago’s Graceland cemetary.  Krieghoff had been exceptionally prolific.  According to the Canadian Encyclopedia, he made “1500 to 1800 paintings and prints.”  The Great Quebec Fire of 8 June1881 destroyed many of his sketches, then owned by John S. Budden.  (See Cornelius Krieghoff, Wikipedia.)

RELATED ARTICLE:

  • The Aftermath & Krieghoff’s Quintessential Quebec (michelinewalker.com)

Sources other than Wikipedia:

  • The Dictionary of Canadian Biography
  • The Canadian Encyclopedia

___________________

[i] Benoît Grenier, Brève histoire du régime seigneurial (Montréal: Boréal, 2012). (ISBN 9782764621646)

[ii]  When the Seigneurial system was abolished (1854), habitants did not lose their thirty acres.

Philippe Gélinas, Lise Roy et compagnie – Turlute à Antonio Bazinet

Krieghoff
 
© Micheline Walker
29 December 2013
WordPress
 
 
 
 
The Artist at Niagara, 1858
post stamp issued on 7 July 2000
Canadian Postal Archives 
 
 
 
 
 
 
 
 
 
 

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

A Short Post

19 Thursday Dec 2013

Posted by michelinewalker in Art, Feasts, Music, Sharing

≈ 5 Comments

Tags

Catherine Delors, entitlement, Gustav Lundberg, Joseph François Boucher, Joseph Haydn, Marie-Antoinette's Sleigh Rides

Marie-Antoinette's Sleigh Rides, by François Boucher.  (Photo credit: Catherine Delors

Marie-Antoinette’s Sleigh Rides, by François Boucher, 20 September 1703 – 30 May 1770. (Photo credit: Catherine Delors)

—ooo—

Composer: Joseph Haydn (31 March 1732 – 31 May 1809)

Work: “String Quartet No. 53 In D Major, Hob. III:63, Op. 64:5, ‘The Lark’”
 I. Allegro Moderato
Performers: Caspar da Salo Quartet
Video edited by Gil Carosio
 
François Boucher, by Gustav Lundberg, 1741

François Boucher, by Gustav Lundberg, 1741 (Photo credit: Wikipedia)

© Micheline Walker
19 December 2013
WordPress 
 
 
 
 
 
 

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Ignatius Sancho & Laurence Sterne: a Letter

14 Saturday Dec 2013

Posted by michelinewalker in Black history, Slavery

≈ Comments Off on Ignatius Sancho & Laurence Sterne: a Letter

Tags

2nd Duke of Montagu, A Theory of Music, Abolitionism, Britain, Freemasons, Ignatius Sancho, Laurence Sterne, Letters, Quakers, the Age of Enlightenment

 
Ignarius Sancho
Ignatius Sancho (Google images)
Slave hanging from his ribs, by William Blake (Photo credit: Wikipedia)

Slave hanging from his ribs, by William Blake (Photo credit: Wikipedia)

Ignatius Sancho (c. 1729 – 14 December 1780), a Black slave, lived in Britain at the height of the debate on antislavery and he left a testimonial, letters mainly, of the struggle to end an ignominy. Sancho was a man of colour, but antislavery motivated many members of the White race to gather and attempt to eradicate the subjugation of coloured human beings. Colour is skin-deep. Many abolitionists were Quakers, which is the case with French-American Anthony Benezet (Antoine Bénézet) and his followers. But the person who helped Sancho, John Montagu, the 2nd Duke of Montagu KG, KB, PC (1690 – 5 July 1749), was a Freemason.

Inequality

Because it deals with inequality, Jean-Jacques Rousseau’s Discourse on Inequality (1754) could be a key document on the topic of abolitionism, except that Rousseau is one of the thinkers who introduced the idea of the Noble Savage.[i] Therefore, having mentioned the Discourse on Inequality, we are crossing the English Channel from France to England, where the antislavery debate was at a climax and would attract American abolitionists, one of whom was the above-mentioned French-born American Anthony Benezet (31 January 1713 – 3 May 1784). (See The Abolition of Slavery.)

Ignatius Sancho, by Thomas Gainsborough, National Gallery of Canada

Ignatius Sancho, by Thomas Gainsborough, National Gallery of Canada (Photo credit: Wikipedia)

Thomas Gainsborough, FRSA (christened 14 May 1727 – 2 August 1788)

Ignatius Sancho and Laurence Sterne

Ignatius Sancho (c. 1729 – 14 December 1780) was a Black slave who wrote a letter to Laurence Sterne (24 November 1713 – 18 March 1768) which, upon publication and concurrent publication of the Reverend Sterne’s answer to Sancho’s letter, made Ignatius Sancho famous. Laurence Sterne, an Anglo-Irish novelist and Anglican clergyman, is best known as the author of Tristram Shandy, or A Life and Opinions of Tristram Shandy, Gentleman (1761-1767) and A Sentimental Journey to France and Italy (1668).[ii]

Because the publication of Tristram Shandy had been a huge success, our Black British abolitionist Ignatius Sancho wrote to Sterne urging the writer to put his eloquence into the service of abolitionism:

That subject, handled in your striking manner, would ease the yoke (perhaps) of many – but if only one – Gracious God! – what a feast to a benevolent heart!

Laurence Sterne received Sancho’s letter in July 1766, two years before his death. There was little the Reverend Sterne could do at this point in his life. In 1765, Sterne had travelled, in vain, to France and Italy, in search of a climate that would relieve the symptoms of tuberculosis. He died in 1768, two years after receiving and answering Sancho’s letter, but his response to Sancho has survived the test of time and constitutes a witty and powerful statement against slavery. It ridiculed slavery.

“There is a strange coincidence, Sancho, in the little events (as well as in the great ones) of this world: for I had been writing a tender tale of the sorrows of a friendless poor negro-girl, and my eyes had scarce done smarting with it, when your letter of recommendation in behalf of so many of her brethren and sisters, came to me—but why her brethren?—or your’s, Sancho! any more than mine? It is by the finest tints, and most insensible gradations, that nature descends from the fairest face about St. James’s, to the sootiest complexion in Africa: at which tint of these, is it, that the ties of blood are to cease? and how many shades must we descend lower still in the scale, ’ere mercy is to vanish with them?—but ’tis no uncommon thing, my good Sancho, for one half of the world to use the other half of it like brutes, & then endeavor to make ’em so.”

Laurence Sterne, by Louis de Carmontelle, c. 1762 (Photo credit: Wikipedia)

Laurence Sterne, by Louis de Carmontelle, 1762 (Photo credit: Wikipedia)

Louis de Carmontelle (15 August 1717 – 26 December 1806)

Ignatius Sancho

Birth on a slave ship

Black British abolitionist Ignatius Sancho (c. 1729 – 14 December 1780) was born on the slave ship taking his parents to New Granada, a Spanish colony. Sancho’s mother died when Sancho was in infancy. After Sancho’s mother’s death, his father committed suicide rather than live as a slave. Slaves belonged to their owners. Some owners were good, but too many were brutes. The owner of the slave hanging from his ribs, portrayed by William Blake (above), was a brute and nothing could stop him. He owned the man he was killing mercilessly. Owning a human being can lead to horrific abuse.

The 1730s and 40s

At the age of two, Sancho was sent to England where he worked for three maiden sisters in Greenwich until the 1750s. However, John Montagu, the 2nd Duke of Montagu KG, KB, PC (1690 – 5 July 1749), a Freemason, took an interest in Ignatius, who was a very intelligent child whose personality and manners were truly endearing. John Montagu therefore funded what little formal education Sancho received. The Montagus always helped Sancho.

The 50s and 60s

During the 50s, Sancho spent two happy years working as butler to Mary Montagu (née Churchill). During those two years, he studied music. He would later publish a theory of music and compose. In the 60s, he married a West Indian woman, Ann Osborne. The couple had six children. During that same period he also became a valet to George Montagu, 1st Duke of Montagu, the son-in-law of his former patron and a man of refinement. When he started to work for George Montagu, 1st Duke of Montagu, Thomas Gainsborough made a portrait of Sancho.

The Late 1760s and the 70s

In 1774, with help from the Duke of Montagu and using the remains of an inheritance and the annuity he was receiving from Mary Montagu, Sancho, then suffering from ill-health and gout, opened a green grocery shop offering merchandise such as tobacco, sugar and tea, at 19 Charles Street in London’s Mayfair, Westminster.

It is during this period of his life that Sancho published his Theory of Music and songs. It is also during this period that he became a voter. “As a financially independent male householder living in Westminster, Sancho qualified to vote in the parliamentary elections of 1774 and 1780.” (See Ignatius Sancho, Wikipedia.) During the 1700s, Sancho also contributed letters in newspapers, under his own name and under the pseudonym “Africanus.”

images

Ignatius Sancho: A Summary

Ignatius Sancho (c. 1729 – 14 December 1780) was

  • a Black slave born on a slave ship;
  • a composer: he published a Theory of Music and composed songs;
  • a playwright: he wrote two plays and was an acquaintance of famed actor David Garrick;
  • an actor;
  • a writer, letters (to Sterne, and to newspapers), plays and a two-volume collection of letters published after his death;
  • a businessman;
  • the first black person of African origin known to have voted in Britain;
  • the first African to be given an obituary in the British press (see above).

Conclusion

According to Wikipedia, Sancho “was unusually blunt in [h]is response to a letter from Jack Wingrave, John Wingrave’s son. Jack wrote about his “negative reaction to people of colour based on his own experience in India during the 1770s.” (See Ignatius Sancho, Wikipedia.) John Wingrave, Jack’s father and Sancho’s friend, was a London bookbinder and bookseller.

“I am sorry to observe that the practice of your country (which as a resident I love – and for its freedom – and for the many blessings I enjoy in it – shall ever have my warmest wishes, prayers and blessings); I say it is with reluctance, that I must observe your country’s conduct has been uniformly wicked in the East – West-Indies – and even on the coast of Guinea. The grand object of English navigators – indeed of all Christian navigators – is money – money – money – for which I do not pretend to blame them – Commerce was meant by the goodness of the Deity to diffuse the various goods of the earth into every part—to unite mankind in the blessed chains of brotherly love – society – and mutual dependence: the enlightened Christian should diffuse the riches of the Gospel of peace – with the commodities of his respective land – Commerce attended with strict honesty – and with Religion for its companion – would be a blessing to every shore it touched at. In Africa, the poor wretched natives blessed with the most fertile and luxuriant soil- are rendered so much the more miserable for what Providence meant as a blessing: the Christians’ abominable traffic for slaves and the horrid cruelty and treachery of the petty Kings encouraged by their Christian customers who carry them strong liquors to enflame their national madness – and powder – and bad fire-arms – to furnish them with the hellish means of killing and kidnapping.” (See Sancho’s View on Empire and Slavery.)

The above letter may be “blunt,” but could it be otherwise? Ignatius Sancho was fighting an evil, perhaps the very worst evil human beings have inflicted on themselves, an evil motivated by greed.

RELATED ARTICLES

  • Circular 3591 and Why Dec 12th Is Special in the Fight Against Slavery (kennethdprice.com)
  • The Abolition of Slavery (michelinewalker.com)
  • The Noble Savage: Lahontan’s Adario (michelinewalker.com)

Sources

  • Sancho’s letters can be read online at Documenting the American South (scroll down)
  • Sancho’s View on Empire and Slavery (letter to Jack Wingrave)
  • Tristram Shandy is a Project Gutenberg publication [EBook #1079]
  • Quakers
  • Freemasonry
  • One Hundred Greatest Black Britons

[i] “noble savage”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Dec. 2013.
<http://www.britannica.com/EBchecked/topic/416988/noble-savage>.

[ii] “Laurence Sterne.” Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Dec. 2013.
<http://www.britannica.com/EBchecked/topic/565796/Laurence-Sterne>.
  

Ignatius Sancho 

images

UK Stamp
UK Stamp
© Micheline Walker
14 December 2013
WordPress 
 
Ignatius Sancho died today, 14 December, in 1780.
 

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Nelson Mandela: President Obama’s Eulogy

10 Tuesday Dec 2013

Posted by michelinewalker in Uncategorized

≈ Comments Off on Nelson Mandela: President Obama’s Eulogy

Tags

Nelson Mandela's Memorial, Nobel Peace Prize, President Obama's Eulogy, Soul

nelson-mandela-744x1024

Nelson Mandela: 1918 – 2013

imagesCA1W0BDM

President Obama’s eulogy is inspirational. So, if you haven’t listened to it, you may do so at a convenient time.

http://www.nelsonmandelaonline.net/

imagesCA1D3UP4© Micheline Walker
10 December 2013
WordPress
 

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

On Nelson Mandela, a Good Man

08 Sunday Dec 2013

Posted by michelinewalker in Sharing

≈ 4 Comments

Tags

Apartheid, Barack Hussein Obama, brotherhood, Equality, Forgiveness, freedom, Mahatma Ghandi, Nelson Mandela, racism, Segregation, White Supremacy, William Blake

_68169235_bae4db50-c69c-45f9-9c10-cace4a789701

Nelson Rolihlahla  Mandela, 1918 – 2013 

  
(Please allow me to allude to the United States in my praise of Nelson Mandela.)

We often use the word “hero” somewhat frivolously. But Nelson Mandela was a hero, a genuine hero. He rose above years of imprisonment serene and forgiving. Nelson Mandela served 27 years of a life sentence because he could not accept the domination of one race over another race. He fought Apartheid, or the segregation of the Black population of South Africa from its White population. There was no equality, which means there could be no justice.

William_Blake_-_Sconfitta_-_Frontispiece_to_The_Song_of_Los

“The archetype of the Creator is a familiar image in Blake’s work. Here, the demiurgic figure Urizen prays before the world he has forged. The Song of Los is the third in a series of illuminated books painted by Blake and his wife, collectively known as the Continental Prophecies.”  (Caption and photo credit: Wikipedia)

William Blake (28 November 1757 – 12 August 1827)

Apartheid and Racism

Apartheid remains an evil. It is the plight African-Americans had to endure after they were ‘freed’ and it is a plight they still endure. Slavery ended 148 years ago, officially, and segregation has also ended, officially. However, all too often African-Americans are considered by many as an inferior race. United States citizens do not even spare President Obama, a good man. They claim wrongly that he impoverished America. They also claim that he does not know the Constitution.  President Obama knows the Constitution.  Because they are false, such accusations suggest a degree of racism.

Whatever the color of their skin, human beings are “created equal” and they constitute a ‘brotherhood.’ Yet, 148 years after the abolition of slavery, there are voter purges and white supremacists. The Ku Klux Klan is still active. That is Apartheid. So, did the Union win the war? Well, it did and it didn’t. Winning a Civil War is not easy. The issues that underlie the war stem from within. But the Civil War freed the Black and that was just, despite the losses suffered by slave owners. Therefore, it is everyone’s duty to abide by the principles the Civil War upheld: freedom and genuine equality, not a mere facade.

Fortunately, many descendants of individuals who ‘lost’ the war have since ‘won’ the war. They have grown to realize that human beings cannot be sold like cattle, tortured, executed and raped because they are a possession. We are born free. Racism is a form of Apartheid.

Ready to Die, but not to Kill

When Nelson Mandela left prison, he did not bear a grudge. I am sure there were times when the past leaped from behind, causing him anger and pain. But he retained his princely conduct. He was a royal among his people, the Thembu people, and a prince among humans.  He was a good person and goodness is the supreme achievement. Nelson Mandela did not blame anyone in particular for being convicted of treason. He attacked a wrong: Apartheid. He was ready to die for his cause, but he was not ready to kill.

In this respect, he resembled Mahatma Ghandi. He battled an injustice choosing a passive form of resistance. Like Ghandi, Nelson Mandela sought equality, without recourse to violence. He sought respect for colonized Africans, but he was not disrespectful of white Africans. That would have been wrong.

Values

The garments one wears may show difference: a different culture or a different religion. But values are not garment-deep and they are not skin-deep. They come from the heart and from the soul.

The people I honour do not bear grudges. They treat others as they wish others to treat them. They remain compassionate despite the pain they have suffered. They see humankind as a brotherhood. They are not warriors or terrorists. They are not arrogant. On the contrary, they are humble. And they most certainly do not shutdown a government at a price that could feed millions and do so in an unjustifiable attempt not to pay taxes. If paying higher taxes allows the implementation of a safety net for a nation, one pays higher taxes.  

Revenge is not justice

Revenge is not justice. We seek justice because there has to be justice. Human beings have rights and the attendant duties. There has to be justice and there has to be a degree of equality. We cannot possess another human being. And if one has caused great losses, one’s duty is to undo the wrong that has been perpetrated to the extent that it can be undone. But there cannot be revenge. It mustn’t be an “eye for an eye.” If it is, hatred persists. It passes down from generation to generation and efforts at reconciliation are forever futile. Bad faith sets in.

Nelson Mandela did not seek  to be avenged. He did not seek to punish those who had caused him to be imprisoned for 27 years for seeking justice for his people, which was his crime. He was much too caring a man to strike back in an ignoble manner. But he had a just cause. After leaving prison, he led his country. He was elected President of South Africa. He served one term and then lived in privacy.

—ooo—

When he died, Nelson Mandela was a “shadow of himself.” But not that he has left his earthy robe, he stands tall again and he smiles. This is how he will be remembered.

466px-Remember_Your_Weekly_Pledge_Massachusetts_Anti-Slavey_Society_collection_box

BLAKE12© Micheline Walker
8 December 2013
WordPress
 
 
A slave hanging by his ribs,  
William Blake
(Photo credit: Wikipedia)

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Good Morning Everyone

06 Friday Dec 2013

Posted by michelinewalker in Art, Music, Sharing

≈ 4 Comments

Tags

Christmas, French Overture, Jean Hugueny, Jean-Philippe Rameau, Le Rappel des oiseaux, Sokolov, students

devin_village_colindevin_village_costume_colette
 
Colin & Colette, drawing by Jean Hugueny (1800 – 1850) (Photo credit: Blog Rousseau)
 

Sources: Le Devin du Village, J. J. Rousseau (1752)

http://www.allmusic.com/album/rousseau-le-devin-du-village-mw0001577344

This is not another post about Le Devin du village. However, for students who use my posts in their research, I should point out that the 5 December post includes a French overture. Italian-born Lully (28 November 1632 – 22 March 1687) created the French overture.  It also has a link to the complete lyrics.

Christmas is coming

It’s a cold day in Quebec and people are buying gifts and special food. Christmas is still a major event in this province, but it has changed. A long time ago, it consisted of reunions and meals. People celebrated from the 25th (Midnight Mass) until Epiphany, January 6th. They went from house to house, visiting.

In the very old days, transportation was easy. People had horses and sleighs with bells. Moreover, there were no telephones. Guests arrived uninvited, except that one could hear the grelots, the snow bells.

A very long time ago, there was a piano in every house. Singing was extremely important. People sang Christmas carols and other favourites. There were many good singers and Church organists were easy to find.

The four weeks of Advent were spent dreaming. Usually, snow had started to fall in late November or early December, sometimes earlier. I can hear the sound of boots on the hard snow.

When I was a child, gifts were not very important, but my mother and her Belgian friend, Mariette, made gifts for us. They used whatever as at hand. I so loved green that every Christmas, I got a new green dress. Sometimes it was an original design. Mariette had been wardrobe mistress for the Brussels Opera. It took her less than a day to make the dress.

We always attended the Christmas parade bundled up in warm clothes. My mother did not want us to miss out on anything. I was not interested in the Christmas parade. In fact, I had a doll and never played with it. I simply sat her on my bed and I looked at her admiringly. I didn’t want to touch her for fear I would break it.

However, I played my piano for hours on end and read.  We had books. 

Going to Midnight Mass was a magical event.  When we returned home for the réveillon, we put little Jesus in his crib.

So Christmas is coming. There will probably be a family Christmas dinner, but I do not know whether or not I will be invited.

Grigory Sokolov (b. 1950)
“Le Rappel des oiseaux”
Jean-Philippe Rameau (25 September 1683 – 12 September 1764)
 

Francois%20Boucher-547347

© Micheline Walker
6 December 2013
WordPress
 
 
Winter
François Boucher (1703-1770)
(Photo credit: Google images)

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Giovanni Battista Pergolesi, revisited

05 Thursday Dec 2013

Posted by michelinewalker in Art, Music

≈ 4 Comments

Tags

commedia dell'arte, d'Alembert, Diderot, La Serva padrona, Pergolesi, Querelle des Bouffons, Rameau, Stabat Mater

Stabat Mater, by William-Adophe Bouguereau (Photo credit: Wikipedia)

Stabat Mater, by William-Adophe Bouguereau* (Photo credit: Wikipedia)

*William-Adophe Bouguereau 

Giovanni Battista Pergolesi (4 January 1710, in Jesi – 16 or 17 March 1736, in Pozzuoli), whose real name was Draghi, was an Italian composer, an excellent violinist and an organist.  His family had moved from Jesi to Pergola, hence the name Pergolesi.[i]

Pergolesi

Pergolesi died at the age of 26, probably of tuberculosis. But, between the time he started to study music, c. 1720, at the Conservatorio dei Poveri at Naples and his death, a mere sixteen years had elapsed.  Mozart (27 January 1756 – 5 December 1791) died at a young age, 35, as did Schubert (31 January 1797 – 19 November 1828), who died at the age of 31.

In 1732, Pergolesi was appointed maestro de cappella to the prince of Stigliano, and, in 1734, he became deputy maestro de cappella, in Naples.

Sacred Music

Pergolesi was such a fine violinist and composer that, during his own life time, he was called the “divine,” by his followers.  For musicologists, he is, first and foremost, the composer of the Serva padrona (“The Maid turned Mistress”), an opera buffa, or comic opera, composed in 1733.  But if we exclude the circumstances that made his opera buffa and its composer famous, he is remembered mainly for his Stabat Mater, a sacred work he composed the year he died, in 1736.

The Stabat Mater was commissioned by the Confraternità dei Cavalieri di San Luigi di Palazzo, a group of pious and generous gentlemen.  However, by 1736, Pergolesi had also written a Mass in F and his long and very mature Magnificat in C major.  In Naples, he composed his Mass in D and his celebrated Stabat Mater.

Instrumental Music

Pergolesi also composed instrumental music: a violin sonata, a violin concerto, a concerto for flute, and other instrumental works.  But doubt lingers concerning the authorship of some of the instrumental music attributed to him.  Investigators are at work.

Operas

So, we now come to his operas.  In Naples, Pergolesi had written Lo frate’nnmmorato, an opera buffa (comic opera).  But he had also composed an opera seria (serious) entitled Il Prigioner superbo (The Proud Prisoner), a work which contained a two-act comedia buffa, La Serva padrona (The Maid turned Mistress).  It is this opera buffa that made him a celebrity, albeit posthumously.

La Serva padrona, an intermezzo, was in no way subversive  It had been composed to a libretto (the words) by Gennaro Antonio Federico who gleaned some of his material from a play by Jacopo Angello Nelli.  In fact, not only was it not subversive, but it had already been performed in Paris, on October 4th, 1746, without attracting much attention.

La Serva padrona and the “Querelle des Bouffons” (video, here and below)

But in 1752, circumstances had changed.  For one thing, the August 1st, 1752 performance of La Serva padrona (“The Servant turned Mistress”) took place at the most elegant venue in Paris: the Opera, or the Académie royale de musique.  Moreover, it was performed before an élite audience.  As a result, this one performance led to an unpredictable two-year quarrel (1752-1754) that opposed the most brilliant minds among the “lumières,” including d’Alembert, Diderot and Jean-Jacques Rousseau  (28 June 1712 – 2 July 1778).  But Rousseau is the person who threw the first stone, except that the “querelle” was a paper war.

Sense and Sensibility

The “Querelle des Bouffons,” or “Quarrel of the comic actors,” was indeed a paper war.  It took the form of an exchange of letters and pamphlets, totalling sixty-one documents, all written by the most erudite “philosophes” of the French Enlightenment, not to mention a bevy of salonniers and salonnières.  It was the event of the century, prior to the French Revolution.

—ooo—

Yet, it would not be altogether fair to give circumstances the leading role in the “querelle.”  Pergolesi’s Serva padrona is an opera buffa, but it had been composed by Pergolesi, the “divine,” and talent supersedes genre.  In other words, the performance of the Serva padrona was a catalyst in the “querelle,” but it is unlikely that a lesser opera buffa would have unleashed a fury.  No greater compliment was ever paid Pergolesi.  The Serva padrona was so delightful an opera buffa, that Geneva-born French encyclopédiste and musician Jean-Jacques Rousseau could use it to oppose French opera.

There had long been tension between Italian music and French music, then dominated by Jean-Philippe Rameau (25 September 1683 – 12 September 1764), the author of a Treatise on Harmony, published in 1722.  As you know from an earlier blog, this treatise remains authorative.  But although the “querelle ” could be considered as yet another battle in the war between French “ramistes,”  the name given supporters of Rameau, on the one hand, and lovers of Italian opera and commedia dell’arte, on the other hand, it may be best to suggest that it opposed reason and sentiment, or sense and sensibility.

The supremacy of reason had been disputed by Pascal, among other thinkers, but since the publication of Descartes‘s Discours de la méthode, in 1637, the fashion for sentiment had suffered. Although Voltaire (b. François-Marie Arouet), 21 November 1694 – 30 May 1778, was extremely witty and entertaining, as a philosopher, he was an advocate of reason.  Be that as it may, Rousseau rather enjoyed shedding a tear or two at the opera, as did a substantial number of his companions involved in the “querelle.”

* * *

In short, because Pergolesi’s Serva padrona was exquisite in its genre, it was the perfect weapon in a war against “ramistes,” which means that if sentiment and the Italians won that particular battle, the “querelle” also constituted abundant praise of Pergolesi’s talent.  Without this weapon of choice, the Serva padrona, there may never have been a “Querelle des Bouffons” for sheer lack of ammunition.

three-gentlemen-and-pierrot6

Three Gentlemen and Pierrot

Claude Gillot (28 April 1673 – 4 May 1722)

YouTube allows one to listen to and to view the Serva padrona in its entirety, but Pergolesi’s Stabat Mater remains the centrepiece.  I hope you enjoy listening to some music composed by a forever young Pergolesi who died in poverty in a Franciscan monastery, at Pozzuoli, near Naples, aged 26.

* * *

(please click on the titles to hear the music)

  • The “Querelle des Bouffons” (comments in Italian about the commedia dell’arte)
  • Pergolesi – Pergolesi Concerto per Violino I Mov.mp4
  • Pergolesi – Pergolesi Concerto per Violino II.mp4 
  • Pergolesi – Konzert G-Dur für Flöte und Orchester 1
  • Pergolesi – Konzert G-Dur für Flöte und Orchester 2
  • Pergolesi – Konzert G-Dur für Flöte und Orchester 3
  • Pergolesi – Laudate pueri Dominum (2)
  • Pergolesi – Salve Regina in C minor (1)
  • Pergolesi – Stabat Mater, Jaroussky & Gens
  • Pergolesi – Magnificat in C Major
  • Pergolesi – La Serva padrona -II

[i] “Giovanni Battista Pergolesi”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 20 Dec. 2011. <http://www.britannica.com/EBchecked/topic/451597/Giovanni-Battista-Pergolesi>.

“Giovanni Battista Pergolesi”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2013. Web. 06 déc. 2013.
<http://www.britannica.com/EBchecked/topic/451597/Giovanni-Battista-Pergolesi>.

composer:  Giovanni Battista Pergolesi (4 January 1710 –16 or 17 March 1736
piece: Stabat Mater
performers: London Symphony Orchestra, 1985
Margaret Marshall, Soprano; Lucia Valentini Terrani, Contralto
conductor: Claudio Abbado
 

scene
© Micheline Walker
20 December 2011
5  December 2013 (2nd edition)
WordPress
 
Scène,
Claude Gillot

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

“J’ai perdu tout mon bonheur” : the Lyrics

05 Thursday Dec 2013

Posted by michelinewalker in Art, Music

≈ Comments Off on “J’ai perdu tout mon bonheur” : the Lyrics

Tags

18th-Century France, François Boucher, J'ai perdu tout mon bonheur, Jean-Jacques Rousseau, Pastoral, Song & Lyrics

Portrait_of_a_Young_Woman_in_Profile_with_Pearls_in_Her_Hair

 
Portrait of a Young Woman in Profile with Pearls in Her Hair, c. 1750
François Boucher (29 September 1703 – 30 May 1770)
(Photo credit: Sights Within)
 
The complete lyrics are at
http://athena.unige.ch/athena/rousseau/devin/rousseau_devin_village1.html
in French
The complete intermezzo is at
http://www.youtube.com/watch?v=JAstYbAyUOM&list=PL5644F9B59F55E5D1
in French (John Portman)
 

A Summary of the Plot, from Wikipedia

“Colin and Colette love one another, yet they suspect each other of being unfaithful — in Colin’s case, with the lady of the manor, and in Colette’s with a courtier. They each seek the advice and support of the village soothsayer in order to reinforce their love. After a series of deceptions, Colin and Colette reconcile and are happily married.” (See Le Devin du village, Wikipedia.)

—ooo—

“J’ai perdu tout mon bonheur”

Colette soupirant et s’essuyant les yeux de son tablier.
(Colette, sighing and drying her eyes with her apron.)
 
I.
  • J’ai perdu tout mon bonheur;  (I have lost all my happiness;) 
  • J’ai perdu mon serviteur ;  (I have lost my servant;)
  • Colin me délaisse ! (Colin is staying away from me!)
  • Colin me délaisse !
  • J’ai perdu mon serviteur ; (I have lost my servant;)
  • J’ai perdu tout mon bonheur ; (I have lost all my happiness;)
  • Colin me délaisse ! (Colin is staying away from me!)
  • Colin me délaisse !
2.
  • Hélas il a pu changer ! (Alas, he was able to change!)
  • Je voudrais n’y plus songer: (I would like no longer to think about it;)
  • Hélas, hélas (Alas)
  • Hélas,
  • Hélas, il a pu changer ! (Alas, he was able to change!)
  • Je voudrais n’y plus songer: (I would like no longer to think about it;
  • Hélas, Hélas
  • J’y songe sans cesse ! (I am forever thinking about it!)
  • J’y songe sans cesse !
3.
  • J’ai perdu mon serviteur ;
  • J’ai perdu tout mon bonheur ;
  • Colin me délaisse !
  • Colin me délaisse !
  • J’ai perdu mon serviteur ;
  • J’ai perdu tout mon bonheur ;
  • Colin me délaisse !
  • Colin me délaisse !
4./5.
  • Il m’aimait autrefois, et ce fut mon malheur. (He loved me in the past, and that was my misfortune.)
  • Mais quelle est donc celle qu’il me préfère ? (But who is the one he prefers to me?)
  • Elle est donc bien charmante ! Imprudente Bergère, (She must be very charming!  Careless Shepherdess,)
  • Ne crains-tu point les maux que j’éprouve en ce jour? (Don’t you fear the pain [ills] I feel today?)
  • Colin m’a pu changer, tu peux avoir ton tour. (Colin was able to replace me, you may have your turn.)
  • Que me sert d’y rêver sans cesse ? (Of what use is it to me to think about it always?)
  • Rien ne peut guérir mon amour, (Nothing can cure my love,
  • Et tout augmente ma tristesse.  (And everything increases my sadness.) .
J’ai perdu mon serviteur ;
J’ai perdu tout mon bonheur ;
Colin me délaisse !
Colin me délaisse !
 
6.
  • Je veux le haïr … je le dois … (I want to hate him … I must …)
  • Peut-être il m’aime encore … pourquoi me fuir sans cesse ? (Perhaps he still loves me … why is he always avoiding [fleeing from] me?)
  • Il me cherchait tant autrefois ! (He so sought me in the past!)
  • Le Devin du canton fait ici sa demeure ; The township‘s soothsayer makes his home here)
  • Il sait tout ; il saura le sort de mon amour. (He knowns everything; he will know the fate of my love.)
  • Je le vois, et je veux m’éclaircir en ce jour. (I see him, and I want matters cleared up for me today.)

RELATED ARTICLE: my personal favourite post, because of Pergolesi, who died at 26.

  • A Portrait of Giovanni Battista Pergolesi (michelinewalker.com)

artwork_images_10_783397_francois-boucher

François Boucher
(Photo credit: Google images)
 
______________________________
Sources:  
  • Opera Today (about the performance below)
  • http://athena.unige.ch/athena/rousseau/devin/rousseau_devin_village1.html (complete text)
  • http://www.youtube.com/watch?v=JAstYbAyUOM&list=PL5644F9B59F55E5D1 (complete intermède) (John Portman)
 
Gabriela Bürgler (soprano)
Cantus Firmus Consort & Cantus Firmus Kammerchor
Andreas Reize (conductor)
artwork: unidentifield
http://www.cantusfirmus-ensemble.com/
 

JEAN-JACQUES ROUSSEAU: Overture

head-of-a-woman-from-behind

Head of a woman from behind, c. 1740
François Boucher

“J’AI PERDU TOUT MON BONHEUR”

 

Jean-Jacques_Rousseau_(painted_portrait)

 
© Micheline Walker
5 December 2013
WordPress
  
  
 
Jean-Jacques Rousseau,
Maurice Quentin de La Tour (1753)
(Photo credit: Wikipedia)
 

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

J. J. Rousseau’s “Le Devin du village”

04 Wednesday Dec 2013

Posted by michelinewalker in Art, Music

≈ 2 Comments

Tags

François Boucher, J'ai perdu tout mon bonheur, Jean-Jacques Rousseau, La Serva padrona, Le Devin du village, Pergolesi, Querelle des Bouffons, Song & Lyrics

 
Portrait_of_a_Young_Woman_in_Profile_with_Pearls_in_Her_Hair
 
Portrait of a Young Woman in Profile with Pearls in Her Hair, c. 1750
François Boucher (29 September 1703 – 30 May 1770)
(Photo credit: Sights Within) 
 

Jean-Jacques Rousseau (28 June 1712 – 2 July 1778) was a political philosopher, one of the encyclopédistes, an educator, a novelist, and a composer.  He wrote the Encyclopédie‘s entry on “Music.”  As a musician, he was also the main figure, with the Baron Melchior von Grimm, in a “Quarrel” (“Querelle des Bouffons” or “War of the Comic Artists”), perhaps the most famous mêlée in the history of music, not to say eighteenth-century philosophy: sentiment over reason!  Not quite, but nearly so.  I have posted an article on Pergolesi and discussed this event.

The “Querelle des Bouffons” started after the second performance, in Paris, of a short intermezzo, La Serva padrona (The Servant Turned Mistress), composed by Pergolesi (4 January 1710 – 16 March 1736),  performed at the Royal Academy of Music, the Paris Opera, on 1 August 1752. Pergolesi’s intermezzo charmed the audience and everyone wrote a letter or pamphlet, some 61 documents, on the subject.  The many commentators were writing about the relative merits of French lyric tragedy, a serious genre, and Italian opera buffa, meant to entertain the audience during a pause (between acts).  The letters made it clear.  By and large, the audience wanted to be moved by music, moved to tears, in some cases.

220px-DevinVillage

Jean-Jacques Rousseau had started the quarrel and part of his arsenal was an operetta, or intermède, entitled Le Devin du village (The Village’s Soothsayer), first performed at Fontainebleau, on 18 October 1752, two months after the performance of the Serva padrona. However, as noted above, what was at the stake was “reason” versus “sentiment.”  Reason was not defeated, but sentiment gained considerable ground. Jean-Philippe Rameau was at the time the most prominent composer in France. His tragédie lyrique came under attack, but his 1722 Traité de l’harmonie, the theory of music, remains authoritative.

The quarrel lasted two years.  However, Le Devin du village, composed by Rousseau, was performed at court in 1753 and attracted audiences until 1830.  It was last performed in 1830, the day Hector Berlioz premiered his Symphonie fantastique, a masterfully orchestrated symphony.

There has been a revival of Rousseau’s Devin du village and, particularly, of the aria “J’ai perdu tout mon bonheur,” sung by Colette, when she thinks Colin is no longer in love with her.  It seems to have entered the standard repertoire.  Interestingly, Rousseau is the first composer to have written both the music and the libretto of Le Devin du village.

A Summary of the Plot, from Wikipedia

“Colin and Colette love one another, yet they suspect each other of being unfaithful — in Colin’s case, with the lady of the manor, and in Colette’s with a courtier. They each seek the advice and support of the village soothsayer in order to reinforce their love. After a series of deceptions, Colin and Colette reconcile and are happily married.” (See Le Devin du village, Wikipedia.)

head-of-a-woman-from-behind
 
Head of a Woman from Behind, c. 1740
François Boucher
(Photo credit: Wikipaintings)
 

“J’ai perdu tout mon bonheur,”an aria

This is a mostly literal translation.  Creating poetry was not my purpose.  I concentrated on making the French text clear and divided it using numbers. Rousseau was an exceptionally gifted and accomplished individual, but most musicologists do not consider Le Devin du village a masterpiece.  However, as mentioned above, “J’ai perdu tout mon bonheur” is performed more and more frequently and, from a historical point of view, Le Devin du village is an important intermède.

 “J’ai perdu tout mon bonheur”

Colette soupirant et s’essuyant les yeux de son tablier.
(Colette, sighing and drying her eyes with her apron.)
 
I.
  • J’ai perdu tout mon bonheur;  (I have lost all my happiness;) 
  • J’ai perdu mon serviteur;  (I have lost my servant;)
  • Colin me délaisse ! (Colin is staying away from me!)
  • Colin me délaisse !
  • J’ai perdu mon serviteur; (I have lost my servant;)
  • J’ai perdu tout mon bonheur; (I have lost all my happiness;)
  • Colin me délaisse ! (Colin is staying away from me!)
  • Colin me délaisse ! 
2.
  • Hélas il a pu changer ! (Alas, he was able to change!)
  • Je voudrais n’y plus songer: (I would like no longer to think about it;)
  • Hélas, hélas, (Alas)
  • Hélas,
  • Hélas, il a pu changer ! (Alas, he was able to change!)
  • Je voudrais n’y plus songer: (I would like no longer to think about it;) 
  • Hélas, Hélas
  • J’y songe sans cesse ! (I am forever thinking about it!)

  • J’y songe sans cesse ! 
3.
  • J’ai perdu mon serviteur;
  • J’ai perdu tout mon bonheur;
  • Colin me délaisse !
  • Colin me délaisse !
  • J’ai perdu mon serviteur;
  • J’ai perdu tout mon bonheur;
  • Colin me délaisse !
  • Colin me délaisse ! 
4./5.
  • Il m’aimait autrefois, et ce fut mon malheur. (He loved me in the past, and that was my misfortune.)
  • Mais quelle est donc celle qu’il me préfère ? (But who is the one he prefers to me?)
  • Elle est donc bien charmante ! Imprudente Bergère, (She must be very charming!  Careless Shepherdess,)
  • Ne crains-tu point les maux que j’éprouve en ce jour? (Don’t you fear the pain [ills] I feel today?)
  • Colin m’a pu changer, tu peux avoir ton tour. (Colin was able to replace me, you may have your turn.)
  • Que me sert d’y rêver sans cesse ? (Of what use is it to me to think about it always?)
  • Rien ne peut guérir mon amour, (Nothing can cure my love,)
  • Et tout augmente ma tristesse.  (And everything increases my sadness.) 
J’ai perdu mon serviteur ;
J’ai perdu tout mon bonheur ;
Colin me délaisse !
Colin me délaisse !
 
6.
  • Je veux le haïr … je le dois … (I want to hate him … I must ...)
  • Peut-être il m’aime encore … pourquoi me fuir sans cesse ? (Perhaps he still loves me … why is he always avoiding [fleeing from] me?)
  • Il me cherchait tant autrefois ! (He so sought me in the past!)
  • Le Devin du canton fait ici sa demeure ; (The township‘s soothsayer makes his home here)
  • Il sait tout ; il saura le sort de mon amour. (He knowns everything; he will know the fate of my love.)
  • Je le vois, et je veux m‘éclaircir en ce jour. (I see him, and I want matters cleared up for me today.)

RELATED ARTICLE: my personal favourite post, because of Pergolesi, dead at 26.

  • A Portrait of Giovanni Battista Pergolesi (michelinewalker.com)
_________________________
Source:  Opera Today (about the performance below)
Gabriela Bürgler (soprano)
Cantus Firmus Consort & Cantus Firmus Kammerchor
Andreas Reize (conductor)
artwork: unidentifield
http://www.cantusfirmus-ensemble.com/
 

Jean-Jacques Rousseau: “J’ai perdu tout mon bonheur” 

Jean-Jacques_Rousseau_(painted_portrait)

 
© Micheline Walker
4 December 2013
WordPress
 
 
 
Jean-Jacques Rousseau,
Maurice Quentin de La Tour (1753)
(Photo credit: Wikipedia)

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...

Innsbruck, ich muss dich lassen: the Lyrics

01 Sunday Dec 2013

Posted by michelinewalker in Art, Songs

≈ 2 Comments

Tags

German, Heinrich Isaac, Ich muss dich lassen, Innsbruck, Lied, lyrics

maxresdefault

Innsbruck, ich muss dich lassen (Photo credit: YouTube)

1. Innsbruck, ich muss dich lassen,
ich fahr dahin mein Straßen
in fremde Land dahin.
Mein Freud ist mir genommen,
die ich nit weiss bekommen,
wo ich im eland bin. (repeated)

1. Innsbruck, I must leave you,
I will go my way
to foreign land(s).
My joy has been taken away from me,
that I cannot achieve
where I am in misery. (repeated)

2. Groß Leid muss ich nun tragen,
das ich allein tu klagen
dem liebsten Buhlen mein.
Ach Lieb, nun lass mich Armen
im Herzen dein erbarmen,
dass ich muss ferne dannen sein. (far; be) (2)

2. I must now bear great sorrow
that I can only share
with my dearest.
Oh love, hold poor me
(and) in your heart compassion
that I must part from you. (2)

3. Mein Trost ob allen Weiben,
dein tu ich ewig bleiben,
stet, treu, der Ehren fromm.
Nun muss dich Gott bewahren,
in aller Tugend sparen,
bis das ich wiederkomm. (2)

3. My consolation: above all other women,
I will forever be yours,
always faithful, in true honor.
And now, may God protect you,
keep you in perfect virtue,
until I shall return. (2).

Heinrich Isaac (c. 1450 – 26 March 1517) was a Netherlandish Renaissance composer of south Netherlandish origin. (See Heinrich Isaac, Wikipedia.)

Sources and Resources

  • Innsbruck, ich muss dich lassen
    http://imslp.org/wiki/Innsbruck_ich_muss_dich_lassen_(Isaac,_Heinrich)
  • Heinrich Isaac, Wikipedia

The King’s Singers

a-wn-cod13713-ausschnitt

© Micheline Walker
1 December 2013
WordPress
 
 
 
 
 
 
 
 

Micheline's Blog

  • Click to print (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)
  • Click to share on Pinterest (Opens in new window)

Like this:

Like Loading...
← Older posts

Europa

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 2,507 other subscribers

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Categories

Recent Posts

  • Epiphany 2023
  • Pavarotti sings Schubert’s « Ave Maria »
  • Yves Montand chante “À Bicyclette”
  • Almost ready
  • Bicycles for Migrant Farm Workers
  • Tout Molière.net : parti …
  • Remembering Belaud
  • Monet’s Magpie
  • To Lori Weber: Language Laws in Quebec, 2
  • To Lori Weber: Language Laws

Archives

Calendar

December 2013
M T W T F S S
 1
2345678
9101112131415
16171819202122
23242526272829
3031  
« Nov   Jan »

Social

  • Facebook
  • Twitter
  • YouTube
  • WordPress.org

micheline.walker@videotron.ca

Micheline Walker

Micheline Walker

Social

Social

  • View belaud44’s profile on Facebook
  • View Follow @mouchette_02’s profile on Twitter
  • View Micheline Walker’s profile on LinkedIn
  • View belaud44’s profile on YouTube
  • View Miicheline Walker’s profile on Google+
  • View michelinewalker’s profile on WordPress.org

Micheline Walker

Micheline Walker
Follow Micheline's Blog on WordPress.com

Create a website or blog at WordPress.com

  • Follow Following
    • Micheline's Blog
    • Join 2,475 other followers
    • Already have a WordPress.com account? Log in now.
    • Micheline's Blog
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    %d bloggers like this: